herzog and de meuron | architecture and design news and projects

calder gardens: take a first look at herzog & de meuron and piet oudolf’s philadelphia oasis

kat barandy I designboom — Mon, 15 Sep 2025 14:01:59 +0000

Calder Gardens Opens as a Living Museum in Philadelphia

On September 21st, 2025, Philadelphia will see the opening of Calder Gardens, a new park and museum shaped by Herzog & de Meuron and Piet Oudolf. Rather than presenting a monumental museum, the project frames Alexander Calder’s work within a lush, layered landscape that gradually reveals its structure and galleries as visitors move inward from the city. The project occupies a city rich with the Calder family’s history. Alexander Calder’s grandfather and father both left their mark on Philadelphia, and works by all three generations line the Parkway.

From the Parkway, a long tapered metal wall forms an austere backdrop to the meadowed garden, softening the sound of nearby traffic and leading to a wood-lined entry beneath a folded metal canopy. The architecture remains deliberately understated. A circular disc at the center creates a plaza and conceals the main galleries below ground, while two sunken gardens — one perfectly round, the other irregular — bring daylight into the galleries and offer distinct settings for Calder’s sculpture.

Today, September 15th, designboom visited Calder Gardens ahead of its public opening to experience Piet Oudolf’s meadows in dialogue with Herzog & de Meuron’s architecture in-person — stay tuned for updates!

subdued architecture by herzog & de meuron

Inside, visitors to Philadelphia’s Calder Gardens descend from a modest lobby to a series of Herzog & de Meuron-designed galleries that vary in light and proportion. The ‘Highway Gallery’ offers a view of Calder mobiles from a mezzanine, while the ‘Open Plan Gallery,’ set beneath the central disc, receives natural light and frames views of the Vestige Garden. Smaller spaces such as the Apse and Curve galleries provide intimate settings for works on paper and light-sensitive sculptures. The architects plan each room to encourage a slow, careful encounter with Calder’s art.

Jason Frantzen, senior partner at Herzog & de Meuron, describes the project as ‘both an actual and a conceptual garden,’ designed in close collaboration with the Calder Foundation and the Barnes Foundation to honor Calder’s legacy while creating ‘a space for all Philadelphians and visitors alike to discover Calder’s work again and again.’

lush landscape design by piet oudolf

Piet Oudolf’s 1.8-acre landscape surrounds and threads through the architecture throughout Calder Gardens, transforming a once-overlooked site in Philadelphia into a shifting, four-season meadow. More than 250 plant varieties — grasses, perennials, and woodland species — form a living composition that changes with weather and time. Paths curve through woodlands, perennial meadows, and tall borders, drawing visitors toward the central disc and framing new views at every step.

From the West Woodland Garden’s young oaks to the late-summer prairie grasses that sway near the building’s edge, the landscape designer’s planting encourages a pace that’s slow and contemplative. The sunken Vestige and Sunken gardens, visible from the main galleries, are a living hybrid of art and landscape. As Oudolf notes, ‘Gardens are for everyone.’

project info:

name: Calder Gardens | @caldergardens

architect: Herzog & de Meuron | @herzogdemeuron

landscape designer: Piet Oudolf | @pietoudolf

location: Philadelphia, Pennsylvania

client: Calder Foundation| @calderfoundation

opening: September 21st, 2025

previous coverage: September 2022, January 2025

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norman foster, sou fujimoto, lina ghotmeh and more design birdhouses at christie’s in london

matthew burgos I designboom — Fri, 12 Sep 2025 10:55:57 +0000

Architects’ birdhouses for charity on brain cancer research

Birdhouses designed by Norman Foster, Sou Fujimoto, Lina Ghotmeh, Frida Escobedo, and more are shown in the exhibition Architects for the Birds during London Frieze Week. Taking place at Christie’s London 20/21 Marquee Week between October 13th and 17th and during the Frieze Week between October 8th and 14th, 2025, the project led by Norman Foster brings together ten renowned architects to design homes for the birds for an exhibition and a charity auction supporting brain cancer research.

Norman Foster initiated the collaboration with the Tessa Jowell Foundation, inviting nine other architects to interpret themes of sanctuary, care, and hope through miniature architectural birdhouses. The participating architects include Norman Foster, Renzo Piano, David Chipperfield, Grafton Architects, Sou Fujimoto, Lina Ghotmeh, Jacques Herzog, Frida Escobedo, Farshid Moussavi, and Kazuyo Sejima/SANAA.

all images courtesy of Christie’s Images Ltd. 2025 | photo by Michael Bodiam

Exhibition at Christie’s King Street during London’s Frieze Week

Each architect, including Norman Foster, who conceived the project, received an open brief allowing interpretation of the sanctuary theme, and the resulting birdhouses are set to be exhibited publicly at Christie’s King Street during London’s Frieze Week in October 2025, then sold at a private dinner auction. While specific construction details aren’t provided, each architect, including Norman Foster himself, likely approaches the birdhouses using materials and techniques consistent with their established design philosophies and architectural styles.

The scale shift from large buildings to small birdhouses poses technical challenges, as details that work at building scale may not function at miniature scale, requiring the contributing architects to rethink proportions and their joinery methods. The theme of sanctuary, care, and hope offers them a conceptual framework while allowing individual interpretation. Some architects focus on the protective aspects of shelter, such as Norman Foster’s tiered, lamp-like birdhouse, while others zero in on the nurturing qualities of home, including Frida Escobedo’s ladderized wooden open birdhouse and Grafton Architects’ playful resting rods.

Norman Foster, Birdfeeder, 2025. Prototype | photo by Michael Bodiam

‘Architects for the Birds’ to support research on brain cancer

Named Architects for the Birds, the exhibition coinciding with London Frieze Week and the auction by Christie’s represents a rare and collectible design challenge through birdhouses by the most revered architects of the present time. Each birdhouse is slated to be auctioned at a private dinner at Christie’s to support the work of the Tessa Jowell Foundation to improve treatment and care for people with brain cancer across the NHS in the UK.

The Tessa Jowell Foundation focuses on brain cancer treatment improvement, specifically addressing what they identify as the leading cancer killer of children and adults under 40. The foundation was established following Tessa Jowell’s death from brain cancer. She served as the UK’s longest-serving Secretary of State for Culture, which explains the cultural connections that enabled this architectural collaboration.

Norman Foster, Birdfeeder, 2025. Prototype | photo by Michael Bodiam

Frida Escobedo, Bird Station – 01, 2025

Grafton Architects, A drawing of Éanlann for Architects for the Birds, 2025

Grafton Architects, Éanlann, 2025

Grafton Architects, A drawing of Éanlann for Architects for the Birds, 2025

Jacques Herzog, Utensils, 2025

Kazuyo Sajima, Tori no le, 2025

project info:

name: Architects for the Birds

architects: Norman Foster, Renzo Piano, David Chipperfield, Grafton Architects, Sou Fujimoto, Lina Ghotmeh, Jacques Herzog, Frida Escobedo, Farshid Moussavi, Kazuyo Sejima | @officialnormanfoster, @rpbw_architects, @david.chipperfield, @graftonarchitects, @sou_fujimoto, @linaghotmeh, @herzogdemeuron, @fridaescobedo, @farshidmoussavi, @sanaa_jimusho

foundation: Tessa Jowell Foundation | @tessajowellfoundation

auction: Christie’s | @christiesinc

event: London 20/21 Marquee Week, London Frieze Week | @friezeofficial

dates: October 13th to 17th, 2025

photography: Michael Bodiam | @michaelbodiam

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sotheby’s HQ to open november 2025 in NYC herzog & de meuron-restored breuer building

thomai tsimpou I designboom — Tue, 12 Aug 2025 15:48:13 +0000

Herzog & de Meuron to Turn Breuer Building into SothebY’s HQ

Herzog & de Meuron restores one of New York’s iconic examples of urban Brutalism, the Breuer Building, set to open to the public in late 2025 as the new global headquarters of Sotheby’s, marking the latest chapter in the life of a structure that has continually adapted to house some of the city’s most significant art collections.

The restoration, in collaboration with local firm Platt Byard Dovell White Architects (PBDW), embraces a ‘light-touch’ approach, retaining Breuer’s original materials and spatial intentions while updating infrastructure to improve accessibility, curatorial flexibility, and the visitor experience. The character-defining features of the building remain intact, including bush-hammered concrete walls, coffered ceilings, mahogany finishes, and bluestone floors. Yet new interventions, such as a discreetly inserted elevator and revamped lighting systems, prepare the building for diverse programming.

UPDATE August 12th, 2025: Sotheby’s announces the opening date for this worldwide headquarters as Saturday, November 8th, 2025. The opening will be free and open to the public and will coincide with an exhibition of Modern and Contemporary art.

‘On November 8, we will be honored to welcome the global art community back into this remarkable museum quality space,’ comments Charles F. Stewart, Sotheby’s Chief Executive Officer. ‘On behalf of all of us at Sotheby’s, I extend our gratitude to our partners Herzog & de Meuron for their brilliant work in amplifying the Breuer’s historical and material legacy for the Sotheby’s era. They have devoted the same level of care and respect to the building as you would a great work of art. I’d also like to thank the New York City Landmarks Preservation Committee for their support and praise for our ‘spectacular’ use of the space. We think visitors will agree.’

945 Madison Ave, New York, Ny, Usa, Marcel Breuer, 1966 (As The Whitney Museum) | images courtesy of Sotheby’s

A New Chapter for new york’s Brutalist Icon

Originally completed in 1966 by Bauhaus-trained architect Marcel Breuer for the Whitney Museum of American Art, the inverted ziggurat form, with its recessed windows and robust concrete facade, was designed to provoke. Since its opening, the building has served as a home for art, temporarily housing the Metropolitan Museum of Art and the Frick Collection after the Whitney’s departure in 2014. Now, nearly 60 years later, Sotheby’s takes over as steward of the building’s next phase, preserving its cultural role while offering free public access for the first time in its history.

The project embraces the contradictions of the building, retaining the severe materiality of the lobby, including bronze, concrete, and wood finishes, but now integrates vitrines and display counters in dialogue with Breuer’s original benches. On the gallery floors, the design team at Herzog & de Meuron reinterprets the irregular window openings as curatorial assets, using them to organize the space and reintroduce a connection with the street. Formerly dim interiors are brightened through layered lighting strategies that allow the building to support new media and a wider range of exhibitions.

a shift from museum to auction house

According to Jacques Herzog, the firm sees this project as part of a long-standing practice of working with existing buildings. ‘We have always admired the Breuer Building,’ he notes, describing it as ‘an architectural icon of postwar modernism.’ Like their earlier work on the Park Avenue Armory, the design team approaches this intervention with a sense of excitement and responsibility, aiming to restore lost spatial clarity and make the building relevant for a new audience and function.

As the city continues to grow and build in all directions, the transformation of the Breuer Building offers an approach that values the past while shaping the future. Once a museum and soon to be an auction house, the building is shifting from one part of the art world to another, remaining a striking presence.

Willem de Kooning: © 2025 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York. Ellsworth Kelly: © Ellsworth Kelly Foundation, courtesy Matthew Marks Gallery. Joan Mitchell: © Estate of Joan Mitchell

© 2025 Ruth Asawa Lanier, Inc., Courtesy David Zwirner, This rendering includes a reproduction of Georgia O’Keeffe’s, Jimson Weed/White Flower No. 1, 1932, that will not be on view on Sotheby’s © 2025 Georgia O’Keeffe Museum / Artists Rights Society (ARS), New York

recessed windows punctuate the robust concrete facade

Herzog & de Meuron restores the Breuer Building

project info:

name: Sotheby’s Global Headquarters

building: The Breuer Building (originally Whitney Museum of American Art)

original architect: Marcel Breuer (1966)

renovation architect: Herzon & de Meuron | @HerzogdeMeuron

executive architect & preservation: Platt Byard Dovell White Architects (PBDW) | @pbdwarchitects

location: 945 Madison Avenue, New York, NY, USA

site area: 1,200 square meters (12,916 sqft)

gross floor area (GFA): 7,268 square meters (78,232 sqft)

client: Sotheby’s | @sothebys

design team: Jacques Herzog, Pierre de Meuron, Wim Walschap (Partner in Charge), Philip Schmerbeck (Associate, Project Director), Jackie Bae (Associate, Project Manager), Bethany Herrmann (Project Designer), Farhad Ahmad, Marija Brdarski, Javier de Cárdenas Canomanuel, Sebastian Frowein, Nathan Mehl, Melodie Sanchez

structural engineering: Silman Structural Solution / TYLin

MEPFP engineering: AMA Group USA

lighting design: Tillotson Design Associates

AV & low voltage consulting: TMT Technology

acoustic consulting: Eligator Acoustics Associates

geotechnical consulting: Langan Engineering and Environmental Services

vertical transportation: DTM Inc.

life safety: Homes Keogh Associates

code consulting: Gillman Consulting Inc.

waterproofing & special inspections: Socotec Engineering, Inc.

contractor: J.T. Magen

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herzog & de meuron to redesign 1960s california campus for eames institute museum

kat barandy I designboom — Fri, 01 Aug 2025 03:01:20 +0000

modernist warehouse to become design museum

The Eames Institute of Infinite Curiosity announces plans to convert the former Birkenstock campus in Novato, California, into an art and design museum open to the public. Located just north of San Francisco, the 88.5-acre site will become a permanent home for the Institute’s expanding programming, including exhibitions, public workshops, and access to the Eames Collection.

The campus centers on a 166,000-square-foot modernist complex originally designed in the 1960s by architect John Savage Bolles for McGraw-Hill. Its most prominent feature, a saw-tooth warehouse roofline, has long served as a recognizable architectural gesture amid the region’s low hills. Herzog & de Meuron, in collaboration with San Francisco–based executive architects EHDD, is leading the redesign, which focuses on adaptive reuse and a new public program.

‘We are honored to collaborate with the Eames Institute on this Bay Area project — a region which has significantly shaped our practice through key projects including the de Young Museum in San Francisco,’ says Simon Demeuse, Partner at Herzog & de Meuron.

the Eames Institute museum will occupy a former Birkenstock campus | visualization courtesy Herzog & de Meuron

continuing a legacy

While the campus is currently closed to the public in California, the Eames Institute will open it with museum and gallery programming, makerspaces, culinary venues, and gardens. The institute‘s plan — with design led by Herzog & de Meuron and EHDD — emphasizes accessibility, economic growth, and educational engagement, with officials citing it as a key alignment with local development priorities.

‘To share my grandparents’ vision with the world is the honor of a lifetime,’ comments Llisa Demetrios, Chief Curator of the Eames Institute. ‘Ray and Charles’ boundless curiosity for solving problems through design has been at the core of the Eames Institute’s mission, and this expansion will allow us to share those gifts with our community on an even larger scale.’

The museum will house a selection of works from the Eames Collection, as well as programming inspired by the Institute’s mission to make design thinking more widely accessible. The project reflects a long-term commitment to the North Bay community and to preserving and evolving the legacy of Charles and Ray Eames, whose ethos of experimentation and utility continues to influence generations of designers.

the modernist complex was designed by John Savage Bolles in the 1960s | visualization courtesy Herzog & de Meuron

a major cultural institution in northern california

Community leaders and cultural institutions in Northern California have embraced the upcoming Eames Institute museum, citing both its symbolic and practical value to the region. The Institute’s presence is expected to catalyze investment, education, and cultural participation at a scale previously unseen in the area.

‘The Eames legacy is a cultural treasure, and the Institute’s new campus will be a platform to share this more broadly than ever before,’ adds David C. Howse, President of California College of the Arts. ‘The news is incredibly exciting — creating a destination for the public to immerse themselves in design, while providing an unparalleled learning experience for our students.’

The Eames Institute is currently working to develop a detailed programmatic and architectural plan, which will guide the next phase of transformation for the site. With Herzog & de Meuron’s conceptual framework as well as community support, the project is set to become a landmark celebrating California’s design history and its future.

Herzog and de Meuron will lead the project with EHDD as executive architects | image courtesy Eames Institute

the campus features a undulating roofline and will be adaptively reused | image © Iwan Baan

plans include galleries, public workshops, green areas and culinary venues | image © Iwan Baan

select works from the Eames Collection and family archives will be on view | image © Iwan Baan

the project aligns with cultural development goals in Marin County | image © Iwan Baan

the Institute’s expansion reinforces its mission to share the Eames legacy with the public | image © Iwan Baan

project info:

name: Eames Institute of Infinite Curiosity

location: 8171 Redwood Blvd, Novato, California

client: Eames Institute | @eamesinstitute

design architect (renovation): Herzon & de Meuron | @HerzogdeMeuron

executive architect (renovation): EHDD | @EHDD_architecture

original architect: John Savage Bolles

status: ongoing

photography: courtesy Eames Institute

visualizations: courtesy Herzog & de Meuron

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fernando laposse, lotto studio & studioutte stage ‘unfinished’ vignettes at am tacheles, berlin

ravail khan I designboom — Thu, 20 Mar 2025 11:10:09 +0000

garth roberts presents rooms of am tacheles

In Berlin’s Mitte district, Herzog & de Meuron’s Am Tacheles development is hosting three interior vignettes inspired by various architectural languages, staged by Garth Roberts. The interventions at ROOMS of AM TACHELES are shaped by three architecture and design studios — Fernando Laposse, Lotto Studio, and studioutte — who challenge conventional notions of domesticity by reimagining high-end living as a space of material exploration and conceptual storytelling rather than predetermined luxury. Under the guidance of Roberts, the approach deviates from conventional paradigms of domesticity and standard design vocabularies, instead embracing the unfinished and the exaggerated.

all images by by Robert Rieger

interventions by Fernando Laposse, Lotto Studio, and studioutte

‘ROOMS of AM TACHELES seeks to explore the diverse aesthetic and emotional potential of domestic life, shaped by the iconic architecture of these living spaces,’ explains creative director and multidisciplinary designer Garth Roberts. The interiors, each responding to a different room within the Mitte district, are thus not fully furnished and are posed as ‘gestures’ — fragments of possibility that encourage open-ended interpretations and engagement with space.

Fernando Laposse’s vignette is playful and pink, transforming the interior into a sensory domestic landscape shaped by organic textures. Known for his innovative use of natural fibers, the architect here works with sisal, corn husk veneers, and other overlooked materials to craft tactical surfaces and unexpected encounters. His vignette bridge sustainability with cultural heritage, turning these raw materials into a powerful medium for storytelling.

Garth Roberts stages ROOMS of AM TACHELES

dualities inspired by herzog & de meuron’s brutalism

Lotto Studio adopts a sculptural approach drawing on negative space, and balancing function with the expressive potential of materiality. Aluminum, burled maple, and Emperador marble touches dialogue with the architecture of Gruentuch Ernst. By treating interior design as an interplay of form, void, and inhabitation, the designers‘ composition feels both curated and open-ended. studioutte’s interpretation of domestic space, meanwhile plays with contrasts — juxtaposing raw aluminum against supple leather, translucent drapery against monolithic volumes. Whle also inspired by Herzog & de Meuron’s brutalist forms at Am Tacheles, the Milan-based studio infuses contrasting warmth and tactility, challenging assumptions about scale and softness in interior environments.

the exhibition includes three interior vignettes

all interiors are inspired by Herzog & de Meuron’s architecture

Fernando Laposse, Lotto Studio, and studioutte design a room each

the approach deviates from conventional paradigms of domesticity and standard design vocabularies

embracing the unfinished and the exaggerated

Fernando Laposse’s vignette is playful and pink

the architect here works with sisal, corn husk veneers, and other overlooked materials

turning raw materials into a powerful medium for storytelling

the approach embraces conceptual storytelling rather than predetermined luxury

tactile surfaces

project info:

name: ROOMS of AM TACHELES

creative director: Garth Roberts | @garth_tm

architects: Fernando Laposse | @fernandolaposse, Lotto Studio | @lottostudio.mb, studioutte | @studioutte

location: Am Tacheles, Berlin, Germany

The post fernando laposse, lotto studio & studioutte stage ‘unfinished’ vignettes at am tacheles, berlin appeared first on designboom | architecture & design magazine.

200 chairs shape arta architects’ versatile furniture system at tai kwun center in hong kong

ravail khan I designboom — Tue, 28 Jan 2025 00:30:45 +0000

arta architects enhances cultural gathering space in hong kong

Designed by ARTA Architects in Central Hong Kong, the Tai Kwun Chairs is a versatile public furniture system adaptable by any user. The system, featuring over 220 benches, playfully integrates with the Hong Kong Jockey Club at the Tai Kwun Arts and Cultural Center’s distinctive blend of historic and contemporary architecture. Ergonomically designed for comfort, the curving forms of the wooden chairs draw inspiration from the floating boxes of the modern structures, including those by Herzog and de Meuron, and the roofscape of the site’s heritage buildings.

A bespoke locking system allows for easy installation and removal, accommodating diverse seating arrangements. This adaptability supports a range of uses at this cultural site, from large-scale performances to small gatherings or individual moments of quiet reflection.

all images by Kevin Mak

a modular, adaptable system of public seating at tai kwun

Sustainable wood in a range of natural hues envelops the steps as the Tai Kwun Chairs are laid out, creating a gradient pattern that is visually prominent while harmonizing with the surrounding architecture. Functionality extends beyond comfort and use to storage, as the chairs are stackable, with the capacity to transform into an impromptu art installation or be gathered away to ensure efficient space management. ARTA Architects’ design has been recognized with multiple accolades, including Gold Awards at the Better Future – Asian Design Awards 2023 and the Hong Kong Smart Design Awards 2023.

a versatile public furniture system adaptable by any user

the system playfully integrates with the Tai Kwun Arts and Cultural Center’s blend of historic and contemporary architecture

featuring over 220 benches

a bespoke locking system allows for easy installation and removal

Tai Kwun Chairs’ adaptability supports a range of uses at this cultural site

ARTA Architects crafts the seats from wood in a range of natural hues

project info:

name: Tai Kwun Chairs

architect: ARTA Architects | @arta_architects

location: Tai Kwun, Hong Kong

photographer: Kevin Mak

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herzog & de meuron-designed calder gardens announces september 2025 opening

myrto katsikopoulou I designboom — Mon, 20 Jan 2025 10:50:53 +0000

Calder Gardens to open in September 2025

Calder Gardens, the new cultural destination designed by Herzog and de Meuron and Dutch landscape designer Piet Oudolf (see designboom’s previous coverage here), has announced its opening date in September 2025. Located on the Benjamin Franklin Parkway in downtown Philadelphia, the gallery space is set to showcase the art and ideas of Alexander Calder, one of the 20th century’s most influential artists and a Philadelphia native. The institute has also appointed Juana Berrío as the Marsha Perelman Senior Director of Programs. A seasoned curator, educator, and arts programmer, Berrío will lead public programming that connects audiences to Calder’s work through performances, events, and wellness activities, fostering engagement and community in this innovative blend of art, nature, and architecture.

all images courtesy of Calder Gardens

Juana Berrío Curates Inclusive Programming at Calder Gardens

Beginning her role on January 21st, 2025, Juana Berrío will draw on her extensive background in curatorial practice and arts programming to shape new public engagement initiatives for this new Philadelphia-based institution. With experience at leading institutions such as the Whitney Museum of American Art, SFMOMA, and the Walker Art Center, as well as her work as cofounder of San Francisco’s Kiria Koula, Berrío has developed a reputation for creating dynamic, community-focused cultural experiences. Her diverse expertise, spanning education, research, and sustainability, positions her to craft programs that reflect the spirit of Calder’s art while fostering inclusivity and connection.

‘Calder Gardens is an entirely new type of cultural institution focused on nurturing introspection and personal growth through the art and ideas of my grandfather—one of the most influential artists of the modern era. Juana Berrío’s expertise and wide-ranging interdisciplinary experience—shaped by openness, compassion, and curiosity—
make her ideal for this essential role at Calder Gardens. We look forward to being inspired by her dynamic, unexpected programming,’ says Alexander S. C. Rower, President of the Calder Foundation, Chair of the Calder Gardens Curatorial Committee, and Calder’s grandson.

‘I am thrilled to join Calder Gardens, a unique space that integrates art, architecture, and nature to invite self-reflection,’ shares Juana Berrío. ‘I look forward to working with the team to design rich cross-pollinations between artistic and nonartistic practices, with diverse communities, and between humans, flora, and fauna. Calder’s own passion for interdisciplinary collaborations and experimentation at large provides a perfect context for Calder Gardens to become one of the most innovative and forward-thinking spaces for art and culture today.’

project info:

name: Calder Gardens

architect: Herzog & de Meuron | @herzogdemeuron

landscape designer: Piet Oudolf | @pietoudolf

location: Philadelphia, Pennsylvania

client: Calder Foundation| @calderfoundation
opening: September 2025

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herzog & de meuron’s helvetia campus basel expansion features two james turrell lightworks

lea zeitoun I designboom — Fri, 07 Jun 2024 10:50:03 +0000

helvetia campus basel expansion unfolds in four stages

Herzog & de Meuron is establishing a new identity for Helvetia in central Basel, between Aeschenplatz and the historic St. Alban quarter. Completed in four stages, the 419 project includes three new buildings and three renovated ones, forming a distinctive campus with an understated and predominantly white architecture at the scale of the city block; at a larger scale, two towers – one renovated, one new – create a clear identity amongst the mainly low-rise surroundings. Helvetia’s program features a blend of working space, gathering places, and amenities for all Basel-based employees, while the public gets to enjoy a café, Art Foyer, auditorium, and the B1 Rooftop Bistro, which first opened on April 5, 2024, alongside two light installations by American artist James Turrell, visible from miles away.

herzog & de meuron uplifts the existing 1950s-1970s designs

The Helvetia Basel headquarters have evolved since the 1950s, requiring renovations to address increased density and undefined borders. Recent campus updates by Herzog & de Meuron (see more here) include the removal of some inner courtyard structures to create space for a public park designed by Vogt Landscape Architects. The site now concentrates office functions in the southern block and relocates residential use to the north, opposite the campus on St. Alban-Anlage. The masterplan, implemented in four stages, emphasizes integrating and reusing existing buildings: the renovation and vertical expansion of the 1950s office tower, complemented by a new twin tower and central auditorium, plus a new public park; the renovation and addition to the 1960s administrative building; the renovation and addition to the 1970s administrative building; and last, the deconstruction of the northern administration building and construction of new apartments.

The existing office tower was the first building that Patria Insurance (as it then was) built on the St. Alban site in the 1950s. With its extensive conversion and the construction of an adjacent tower, Herzog & de Meuron created a new ensemble, giving the cityscape an instantly recognizable silhouette. With their all-round terraces and cantilevered roof cornices, the top floors are reminiscent of the architectural language of the 1950s. Meanwhile, a new auditorium serves as an open, connective interior plaza with a curved roof and natural stone paving that extends outdoors; its transparent facade contrasts with the towers’ glass facades, incorporating traditional Venetian cast glass tiles. A central staircase and spiral outdoor one connect the auditorium to the green space.

Designed with bird protection measures, the east and west elevations feature a closed cavity facade for maximum light gain, using prefabricated elements for quick installation and allowing independent sunshade control. The north and south facades boast large diamond-shaped windows, influenced by diagonal staircases, and are clad with triangular cast-glass tiles arranged randomly by computer for a dynamic appearance.

a sustainable and public program at the helvetia campus basel

The Helvetia Campus Basel follows sustainable urban planning, integrating most existing structures and emphasizing easy deconstruction and reuse. It meets DGNB and SGNI Platinum certification standards, with large photovoltaic systems on the roofs providing significant electricity. Completing the masterplan is a new 3,500 m² public park, introducing biodiversity and a microclimate that reflects the campus’s transparent, inviting architecture.

The opening of the campus to the public, reflected in the transparent, inviting architecture, extends from the spacious shaded park to the Helvetia Art Foyer, a public art exhibition space on the ground floor of the renovated tower, and the auditorium, to the roof of the existing tower, where the publicly accessible rooftop café invites visitors to linger. Like a ‘window’ to the city, the Helvetia Art Foyer offers a highly visible, public platform to artists and works both from the collection as well as to new acquisitions. A large video wall is installed within the main auditorium entrance, displaying video art from the extensive Helvetia collection. Further artworks are on rotating display on all 21 office floors.

two expansive light installaitions by james turrell

The Helvetia campus art program also spotlights two site-specific installations by renowned artist James Turrell. Diamond Glass (2023), a light installation within the entrance lobby of the existing tower, welcomes visitors to the Helvetia Art Foyer and newly-opened rooftop bistro and directly references the building’s facade. In the evening, the larger-scale light installation Night Raiment (2024) illuminates the overhanging eaves of the two towers, creating a dialogue between the campus and the city beyond.

The public B1 Rooftop Bistro in the western tower serves as a meeting place for the Gellert district and a club with a unique ambiance, accommodating up to 100 people. The western of the two campus towers has long been a prominent feature of the Gellert district. James Turrell has selected the roof cornices of the 1950s office tower as a virtual canvas for his latest work, Night Raiment (2024). Known for his skyspaces and light installations, the artist has designed a lighting concept that integrates into the architecture of the Helvetia campus. The B1 Rooftop Bistro bathes in atmospheric light, with striking effects that change color almost imperceptibly.

Turrell combines 20,000 individual LEDs that reflect from the underside of the roof and glass facade, blending with light from the interior and allowing colors and spaces to merge. With its 360-degree perspective, the installation transforms the two towers into gleaming light-houses for Basel. Clad with around 24,000 hand-cast glass tiles, their facades add dimension to the light show. Access to the B1 Rooftop Bistro in the western tower is via a separate entrance and an express lift. Visitors are welcomed to the entrance hall by Diamond Glass, an installation also specially conceived by James Turrell. A special feature of this work is the diamond motif, which can also be found in Herzog & de Meuron’s facades and numerous other architectonic details.

The guest area, also designed by Herzog & de Meuron, is both cozy and sophisticated. The interplay of reflections and dark accents, combined with vibrant splashes of color and the overwhelming 360-degree view over the roofs of the city of Basel, promises a unique spatial experience. The B1 Rooftop Bistro is not only a meeting place for the Gellert district and the companies that surround it but also a club with a lively atmosphere. To combine these two gastronomic worlds, the new Bistro offers a diverse selection of meals and snacks and a modern drinks menu. Whether for morning coffee, lunch, or a cheerful afternoon on the terrace, the B1 Rooftop Bistro suits all tastes. For those who want a relaxed end to their day, this latest newcomer to Basel’s catering scene offers the perfect venue – high above the city’s rooftops. The installation is on display at dawn and evening, from dusk until the Bistro closes.

project info:

name: Helvetia Campus Basel | @helvetia.schweiz

location: Basel, Switzerland

architect: Herzog & de Meuron | @herzogdemeuron

light installation: James Turrell

client representative: Helvetia Versicherungen, Kai Wiborny

project number: 419

project period: 2013 – 2024

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herzog & de meuron reveals renderings for lusail museum in qatar

christina petridou I designboom — Mon, 12 Feb 2024 15:16:16 +0000

The Lusail Museum by Herzog & de Meuron

Situated on Al Maha Island in Qatar, the Lusail Museum by Herzog & de Meuron takes shape as a cultural hub and a space for artistic exploration. It aims to encourage discussions on cultural exchange and historical connections between nations. The museum hosts various spaces for exhibitions, educational programs, research, and public events, inviting visitors to engage with its diverse offerings. Inspired by the island’s indigenous landscape, the design blends into its surroundings; its architectural form, resembling a truncated sphere partially embedded in the earth, reflects its context while integrating with the coastal environment. Strategically placed at the island’s southern tip, the museum serves as a landmark, while walled gardens throughout enhance the visitor experience by adding greenery to the landscape.

the Lusail Museum provides a platform for cultural exchange and appreciation within Qatar’s urban landscape, all images by Herzog & de Meuron

Intersecting Spheres Shape Lusail Museum in Qatar

The building by Herzog & de Meuron features three intersecting spheres that shape its volume into two distinct parts: one resembling a full moon and the other a crescent moon, offset from its full counterpart. Between these forms lies a crescent-shaped internal street, naturally illuminated from above, connecting the entrances of the museum to the central lobby and other public areas such as a library, auditorium, shop, café, and prayer space. The internal layout resembles a vertically layered souk, with diverse spaces and uses dispersed within the main body of the museum, offering visitors a multifaceted journey akin to exploring a miniature city contained within a single building. Deeply recessed windows in the façade allow daylight to filter into the interior spaces while protecting them from direct sunlight, providing views of the surrounding sea and the city of Lusail. Additionally, accessible terraces carved out of the façade serve as landscaped gardens or outdoor galleries.

the museum features a curving facade adorned with recessed windows

Enhancing Visitor Experience and Cultural Exchange

The building’s robust mineral expression incorporates specific spaces that serve as contrasts, offering visitors varied scales, material qualities, and sensory experiences. These spaces include a central sculptural polished plaster stair, a reflective metal prayer area, a library adorned with wooden panels, an intimate auditorium, and numerous cushioned niches featuring a range of haptic qualities and materials like wood, textiles, metals, and ceramic tiles. Collaborations with local and regional artisans will ensure a direct connection to the local vernacular, preserving historic trades and fostering cultural exchange. The gallery floors feature display spaces of varying shapes and proportions, tailored to their respective locations while maintaining flexibility for different types of exhibitions. On the top gallery floor, four abstract replicas from significant historical buildings serve as anchor spaces: the dome covering Murat III’s bedroom pavilion in the Palace of Topkapi in Istanbul (1579), the dome of the Jameh Mosque in Natanz (1320), the Ablution fountain in the courtyard of Ibn Tulun Mosque in Cairo (1296), and the Aljafaria dome in Saragossa (1050).

the museum’s exterior cladding presents a textured, sand-like appearance

Each dome features distinct geometry and ornamentation reflecting its geographical heritage, utilizing pendentives, cross arches, muqarnas, and squinches. These architectural elements break the sequence of more traditional galleries, offering unique curatorial and educational opportunities alongside unexpected spatial experiences. The dome was chosen as the architectural typology for these rooms due to its universal presence across cultures throughout history, yet each dome variation reflects specific local geographic and cultural influences. The building features a public, shaded roof terrace resembling a crater-like depression carved out of the top of the structure. Surrounding this terrace are various programs, including a restaurant, member’s lounge, gardens, and chambers containing drinking fountains. The versatile terrace will host both small and large-scale events such as food fairs, book fairs, open-air cinema, fashion shows, and educational workshops. Enclosing the tops of the anchor rooms on the roof terrace are four cube-like volumes, providing structure to the large, circular outdoor space while allowing daylight into the spaces below. Voids cut into the perimeter wall of the roof terrace offer framed views back to the island, the sea, and the city of Lusail.

skylights are dispersed across the roofscape of the building

a central sculptural polished plaster staircase guides visitors to the upper floor

each dome showcases unique geometry and ornamentation that reflects its geographical heritage

terraces integrated into the facade offer accessible spaces that are transformed into landscaped gardens or outdoor galleries

project info:

name: Lusail Museum

architects: Herzog & de Meuron

location: Lusail, Doha, Qatar

partners: Jacques HerzogPierre de MeuronAscan Mergenthaler (Partner in Charge)
design consultant: Herzog & de Meuron Basel Ltd., CH, Basel, Rheinschanze 6
executive architect: Tabanlioglu Mimarlik A.S., TR, Beyoğlu, 67 Asmalı Mescit Caddesi
cost consulting: Pro-ge, TR, Istanbul, 257 Büyükdere Caddesi, Nurol Plaza, Workhaus, 21/A,
cost consulting: Rider Levett Bucknall, (RLB), GB, Greater London, 60 New Broad Street
landscape architect: DS Architecture, TR, Istanbul, Kuloglu Mah. Turnacibasi CAD. No. 9
executive architect: CICO Consulting Engineers, Doha, Qatar
MEP & ICT engineering: Barbanel ME, Beirut, Lebanon
structural engineering: Rudolphe Mattar, Beirut, Lebanon
Fire & Safety Engineering: Apave, Beirut, Lebanon
cost manager: DG Jones, Doha, Qatar
architect of record: JCE Al Jazeera, Doha, Qatar
acoustics consultant: Acoustair, The Netherlands
lighting consultant: Dinnebier Studio, Berlin, Germany
transport & security: Ramboll ME, Dubai, UAE
sustainability: Seeds, Beirut, Lebanon
facade engineering: Emmer Pfenninger, Basel, Switzerland
specialist / consulting
other: Tetrazon, Istanbul
gastronomy consulting: Tricon Foodservice Consultant, GB, Romford, St James’s House,
gastronomy consulting: MCT Services, (MCTS), AE, Dubai, Michael Chabowski Technical Services
Signage Consulting: Portland Design, GB, Greater London, The White Chapel Building, 10 Whitechapel High Street
Special Collaborators
cultural projects advisor: Peter Wilson
building data
site area: 1.377.445 sqft, 127.969 sqm
gross floor area (GFA): 564.620 sqft, 52.455 sqm
GFA above ground: 435.615 sqft, 40.470 sqm
GFA below ground: 129.005 sqft, 11.985 sqm
net floor area: 541.865 sqft, 50.341 sqm
number of levels: 5
footprint: 119.231 sqft, 11.077 sqm
length: 410 ft, 125 m
width: 410 ft, 125 m
height: 98 ft, 30 m
gross volume (GV): 12.183.571 cbft, 345.000 cbm
facade surface: 322.917 sqft, 30.000 sqm

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herzog & de meuron’s pyramidal glass design wins competition for art storage facility in seoul

christina petridou I designboom — Fri, 08 Dec 2023 10:40:28 +0000

Herzog & de Meuron wins the Seoripul Open Storage competition

Herzog & de Meuron was announced by the City of Seoul as the winner of the Seoripul Open Storage competition in Seoul, South Korea. This initiative is envisioned to serve as a collective archive for the Seoul Museum of Art, Seoul Museum of Craft Art, and Seoul Museum of History. The project aims to go beyond a typical storage space, functioning as a dynamic civic area for both local residents and global visitors. Positioned at Seoripul Park’s Eastern Border, the building features a pyramidal glass structure atop mineral blocks, easily visible from Seocho Road. It seeks to expand Seocho-Dong’s identity by incorporating a cultural dimension onto Seoul’s map, blending nature, culture, and urban life. Featuring a surrounding garden, it provides a peaceful outdoor area for visitors and establishes a pathway linking the museum to Seoripul Park. Different functional blocks like the Cafe, Library, Art Delivery, and Art Handling are integrated into the terraced garden, supporting a pyramidal glazed volume designated for the archive, with administration and dining areas strategically placed between the main building volumes.

all images Herzog & de Meuron

Traditional Korean Garden Principles in Architectural Design

The architects at Herzog & de Meuron drew inspiration from traditional Korean garden principles, incorporating elements like Forest, Earth, Water, and Diorama into the design of the garden. It harmoniously interacts with the building’s architecture to create a cohesive experience blending indoor and outdoor spaces. Mineral blocks within the garden frame different scenic views, offering varied perspectives to visitors. To realize this vision, the master plan involves significant changes in the existing landscape by excavating the area. This results in a terraced landscape and the newly created building spaces are crafted as mineral volumes. These blocks serve different purposes: the northeastern block houses the lobby, shop, and library near the main entrance; the southeastern one, facing the garden, accommodates a small cafe accessible from both the garden and the street corner. Other functions like elevators, fire escape routes, and special exhibition areas are allocated among these volumes. Vertical circulation routes link the exhibition levels through fire escape staircases and elevators on the south side. Additionally, the stepped auditorium acts as an open connection between levels, seamlessly integrating into the special exhibition program.

the building emerges as a pyramidal glass structure standing on top of mineral blocks

The Archive Block features a pyramidal base design tailored for specific orientations. The eastern side creates a canopy for the entrance and incorporates window slits offering views of the garden and Myeongdal Road. On the south, a cutout provides light and views of Seocho Road for the staircases. The north side has a central cutout providing views of Seoripul Park and the Gangnam district, while the west side facilitates a view of the Han River. Within the Archive Block (levels 2 to 5), collections are organized by material and required climatic conditions across four stacked zones. Level 2 houses Composite Materials and large-scale art; Level 3 holds Earthenware, Metal Works, Glass & Jade, and Stone works; Level 4 is for Woodworks, Paper works, Calligraphy, and Ivory/Bone works; and Level 5 is dedicated to Textiles, Paintings, and Media Arts. Vertical circulation, visitor access, and technical systems are concentrated on the south side, allowing the rest of the floorplate to remain flexible for evolving curatorial concepts and visitor accessibility.

the northeastern volume, next to the main entrance, accommodates the lobby, shop, and library

A cone-shaped void within the archive allows visual connections between the ground floor and archival levels. This glazed cone features display cases showcasing key artifacts from the exhibition/archive. On the sixth level, the pyramidal glass block is divided to provide panoramic views for administration and the restaurant. The archive offices split into west and east wings, with a public restaurant in between. An atrium offers views from the restaurant to the art conservation level, revealing typically hidden programs in archive buildings. The glazing is set back, creating an outward terrace whose width varies based on function. Meanwhile, the 7th-floor block extends the pyramidal volume’s geometry and houses the conservation program. While conservation blocks are at the perimeter, the central area remains an open collective workspace. Shed windows and continuous bands of windows illuminate these working areas.

The project’s sustainability goals focus on achieving carbon neutrality within a 50-year lifespan. Strategies include reducing concrete use and incorporating high-recycled content, employing passive techniques like limited window openings and effective insulation to minimize energy consumption, utilizing geothermal heat pumps for low-carbon heating and cooling sourced from local renewable energy, installing photovoltaic elements on the roof and facades to generate electricity for the building’s use, and collecting rainwater for non-potable purposes to decrease reliance on fresh water. Accounting for the building’s lifespan, the emissions avoided through integrated photovoltaics exceed those produced during construction and operation, ultimately resulting in carbon neutrality.

the special exhibition program is positioned between the volumes on the ground floor and basement level one

the stepped auditorium allows for its seamless integration into the special exhibition program

void view from lobby

a small cafe opens to both the garden and the street corner

project info:

name: Seoripul Open Art Storage

architects: Herzog de Meuron | @herzogdemeuron

partners: Jacques HerzogPierre de MeuronSantiago Espitia Berndt (Partner in Charge)Martin Knüsel
project team: Enrique Peláez (Project Director), Thorben Bazlen (Project Architect), Inmo Kang, Jackie Bae, Benedict Choquard, João Conceição, Sukjoo HongInmo, Kang Jeremy, Kim Liane, Liang Jan, Macbean Chris, Noh Aida, Ramirez Marrujo, André Vergueiro
design consultant: Herzog & de Meuron Global Ltd, Switzerland, Basel
landscape design: Vogt Landschaftsarchitekten AG, Zürich, Switzerland
structural engineering: Schnetzer Puskas Ingenieure AG, Basel, Switzerland
sustainability engineering: Transsolar Energietechnik GmbH, Stuttgart, Germany
museum advisory: Peter Wilson
curatorial advisory: Laurencina Farrant

location: Seoul, South Korea
site area: 62,430 sqft, 5,800 sqm
gross floor area (GFA): 209,896 sqft, 19,500 sqm

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